DOCSLIB.ORG

Inside the Eurovision Song Contest: Glamour, Music and Myth Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inside the Eurovision Song Contest: Glamour, Music and Myth Free FREE INSIDE THE EUROVISION SONG CONTEST: GLAMOUR, MUSIC AND MYTH PDF Julian Vignoles,Kyran O'Brien | 140 pages | 28 Jul 2015 | The Liffey Press | 9781908308719 | English | Dublin, Ireland Eurovision Song Contest: The Story of Fire Saga is exactly the film we need right now | TechRadar Star Demi Lovato took on yet another project that combines her singing ability with her acting skills. Discover more about her role here. Note: Very mild spoilers for the film follow. After Lovato left the network, she began to focus more on her music. Today, Lovato has released six studio albums, Inside the Eurovision Song Contest: Glamour another on the way. And Disney is known for making artists out of all of its TV stars, with Lovato being no exception. Even after leaving Disney behind, Lovato has found work that combined her abilities. It was later officially revealed that she plays Music and Myth character of Katiana, an Icelandic singer who is a shoo-in to represent the country in the Eurovision Song Contest. Though Lovato is only in a few scenes, she is introduced singing. Movie and Soundtrack out Friday if you missed Eurovision this year!! Given the subject matter of the movie, a soundtrack featuring the songs from it is expected. And according to iTunesit will be made available on June 26, — the same day the film is released on Netflix. Lovato may be the most U. However, there is one unique musical moments with real-life singers. Becca Bleznak More Articles June 26, Demi Lovato is Music and Myth singer and an actor. View this post on Instagram. Eurovision Song Contest Is Coming to America—And Fans Are Skeptical | Glamour By Inside the Eurovision Song Contest: Glamour your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Thanks for subscribing! Look out for your first newsletter in your inbox soon! We decided to skip the emotive classic hits in favour of edgier anthems. Do expect bad football puns, catchy hooks and painfully tuneless singing. While Everton keep Music and Myth simple with the lyrics on this track, but the video of them performing the track on 'Wogan' makes it special. Also featured: a whistling break and Wogan waving an Everton scarf with unstoppable passion. Imagine dropping acid with Gazza. Not sure what to cue up on your iPhone? Rest assured, we've got you covered. Go to the content Go to the footer Close London icon-chevron-right Music and Myth. Time Out London. Get us in your inbox Sign up to our newsletter for the latest and greatest from your city and beyond. We already have this email. Try another? My Account My Profile Sign out. My Account. Worldwide icon-chevron-right Europe icon-chevron- right United Kingdom icon-chevron-right England icon-chevron-right London icon-chevron-right The 10 best football songs of all time. Read more. You may also like. Love the mag? Our newsletter hand-delivers its best bits to your inbox. Sign up to receive it, and unlock our digital magazines. Football songs – The best and worst of football music For years I didn't understand the appeal of the Eurovision Song Contest. In some ways I still don't understand why the better part of million people tune in to watch mostly horrendous music — seriously, whose idea was Scooch? That said, I get it more now. In its Inside the Eurovision Song Contest: Glamour, Eurovision is Music and Myth self-aware, and the least pretentious of Europeans luxuriate in it every year as they indulge in a little harmless national pride. Everyone involved is in on the joke, and they carry on having the same unadulterated fun regardless, purely for its own sake, and because it's an event with a deeply positive Inside the Eurovision Song Contest: Glamour. And that's precisely why spending two hours weakly attempting to mock it is a curious choice in Netflix's newest movie. Either way, the person who clearly understands the show's absurd charm is Will Ferrell, writer and one half of the fictional Icelandic band, Fire Saga. Having been introduced to the madcap enterprise by his Swedish wife inFerrell has since attended the Lisbon semi-finals of the contest Inside the Eurovision Song Contest: Glamour and it's clear he gets what Inside the Eurovision Song Contest: Glamour the European curio tick with his and director David Dobkin's Wedding Crashers, Shanghai Knights film, Eurovision Song Contest: Music and Myth Story of Fire Saga. Alongside the inclusion of previous winners such as Israel's Izhar Cohen and a witheringly trademark turn from Graham Norton, official backing from the European Broadcasting Union also lends the film its authenticity — it was intended to coincide with the now-cancelled finals in the Netherlands this year. While that's the root of the film's scarce few triumphs, it's also, more often that not, behind its many failings. Rachel McAdams playing Sigrit Ericsdottir joins Ferrell playing Lars Inside the Eurovision Song Contest: Glamour as the other half of Fire Saga as the pair of would-be lovers with dreams of musical stardom. They may also be siblings, which is one of many jokes punching down at small settlements like their hometown of Husavik. Ever since he was first entranced by Abba's Eurovision performances as a boy, Lars has sought to win the competition at the expense of everything else, growing into the familiar man-child characters we've seen from Ferrell before. As his father Eric Pierce Brosnan watches on, looking thoroughly bored as his trite character arc takes him from disapproving Inside the Eurovision Song Contest: Glamour proud dad, Sigrit and Lars somehow find themselves on an unlikely path to the Eurovision finals in Edinburgh. The problem is this story that frames the finals and semi-finals of the contest is as unfunny as it is needless. If Ferrell isn't improvising, his lines are written awfully: he's clearly supposed to be the font of the jokes, but Ferrell's shtick outstays its welcome quickly as an awkward McAdams, and a supporting cast including an under served Natasia and Jamie Demetriou, are left to flounder. Step Brothers, this Inside the Eurovision Song Contest: Glamour. Dan Stevens as Lars' extravagant Russian rival Alexander Lemtov, however, does admirably in his attempts to pout his way through the mostly entertainment-free hours. Especially jarring are the many and various dick jokes, in what is a film about a largely family-friendly talent show. Lars stuffs his trousers to enhance his crotch in a tight, white bodysuit and compares his dependable manhood to a Volvo. Even more out-of-place are the dismembered, literally smoldering apparitions of Demi Lovato's Katiana, Iceland's promising Eurovision hopeful who spoiler alert! Nevertheless, backing from the EBU has made the film's impressive Eurovision scenes possible. The wild crowds, cacophony of auto-tuned eurotrash and outrageously spangled costumes feel true to the competition in moments that are rare diamonds in Fire Saga's mostly humorless rough. If they can put the clearly foreshadowed stage gaffs to one Music and Myth, fans hurting at the lack of Eurovision this year may get something from it. That said, this official seal of approval means effective jokes at the contest's expense lack any real bite. Moments in which men in black, metal- style garb screech dissonant high-pitched pop may raise a chuckle if you've not seen it done better in the real-life show. And the intended-as-masculine but unwittingly homoerotic Russian performance would have been more amusing had the Putin-bashing gag not been explained later on. But it isn't any funnier when the film's focus is off the leash either: on contemporary America, Ferrell spouts near- unintelligible, but hopefully at least cathartic, word-vomit about opiates and border walls. With the insatiably gauche excess of the Eurovision Song Contest in mind, it would take an impressive feature-length comedy to make this lurid talent show of nations any more preposterous than it already is, and The Story Inside the Eurovision Song Contest: Glamour Fire Saga absolutely isn't that. As it attempts to ridicule the already-ridiculous, any potential laughs are held back due to its official ties with the organizer. While Fire Saga doesn't quite Inside the Eurovision Song Contest: Glamour the dreaded nil points, it fizzles out into something pretty close. Please deactivate your ad blocker in order to see our subscription offer. The best Netflix movies : Da 5 Bloods, Uncut Gems, and more The new movies to watch when cinemas re-open More Netflix comedy specials to lighten your mood Either way, the person who clearly understands the show's absurd charm is Will Ferrell, writer and one half of the fictional Icelandic band, Fire Saga. Image credit: Netflix Especially jarring are the many and various dick jokes, in what is a film about a largely family-friendly talent show. Wonder Woman release date : everything we know. See more TV news. Most Popular Most Shared..
Load more

Recommended publications
  • Quick Guide to the Eurovision Song Contest 2018
    The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV.
    [Show full text]
  • Lesbian Camp 02/07
    SQS Bespectacular and over the top. On the genealogy of lesbian camp 02/07 Annamari Vänskä 66 In May 2007, the foundations of the queer Eurovision world seemed to shake once again as Serbia’s representative, Queer Mirror: Perspectives Marija Šerifović inspired people all over Europe vote for her and her song “Molitva”, “Prayer”. The song was praised, the singer, daughter of a famous Serbian singer, was hailed, and the whole song contest was by many seen in a new light: removed from its flamboyantly campy gay aesthetics which seems to have become one of the main signifiers of the whole contest in recent decades. As the contest had al- ready lost the Danish drag performer DQ in the semi finals, the victory of Serbia’s subtle hymn-like invocation placed the whole contest in a much more serious ballpark. With “Molitva” the contest seemed to shrug off its prominent gay appeal restoring the contest to its roots, to the idea of a Grand Prix of European Song, where the aim has been Marija Šerifović’s performance was said to lack camp and restore the to find the best European pop song in a contest between contest to its roots, to the idea of a Grand Prix of European Song. different European nations. The serious singer posed in masculine attire: tuxedo, white riosity was appeased: not only was Šerifović identified as shirt, loosely hanging bow tie and white sneakers, and was a lesbian but also as a Romany person.1 Šerifović seemed surrounded by a chorus of five femininely coded women.
    [Show full text]
  • The Cultural Politics of Eurovision: a Case Study of Ukraine’S Invasion in 2014 Against Their Eurovision Win in 2016
    Claremont-UC Undergraduate Research Conference on the European Union Volume 2017 Article 6 9-12-2017 The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Follow this and additional works at: http://scholarship.claremont.edu/urceu Part of the European Languages and Societies Commons, International and Area Studies Commons, International Relations Commons, and the Slavic Languages and Societies Commons Recommended Citation Cashman, Jordana L. (2017) "The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016," Claremont-UC Undergraduate Research Conference on the European Union: Vol. 2017, Article 6. DOI: 10.5642/urceu.201701.06 Available at: http://scholarship.claremont.edu/urceu/vol2017/iss1/6 This Chapter is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Claremont-UC Undergraduate Research Conference on the European Union by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Claremont–UC Undergraduate Research Conference on the European Union 45 4 The Cultural Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Abstract Politics is officially banned from Eurovision, and songs that are too political can be prevented from being performed. However, the complete separation of culture and politics is impossible, and cultural performances often carry both indirect and explicit political mes- sages.
    [Show full text]
  • Gender and Geopolitics in the Eurovision Song Contest Introduction
    Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state.
    [Show full text]
  • Diplomski Rad
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Juraj Dobrila University of Pula Digital Repository Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad Pula, 2018. Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad JMBAG: 0303030797, redoviti student Studijski smjer: Hrvatski jezik i književnost - Povijest Predmet: Hrvatska svakodnevica u socijalizmu Znanstveno područje: humanističke znanosti Znanstveno polje: povijest Znanstvena grana: hrvatska i svjetska moderna i suvremena povijest Mentor: izv. prof. dr. sc. Igor Duda Pula, srpanj 2018. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisana Katarina Pokrajac, kandidtkinja za magistru hrvatskog jezika i knjiţevnosti i povijesti ovime izjavljujem da je ovaj diplomski rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraţivanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio diplomskog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava. Izjavljujem, takoĎer, da nijedan dio rada nije iskorišten za koji drugi rad pri bilo kojoj drugoj visokoškolskoj, znanstvenoj ili radnoj ustanovi. U Puli, 28. lipnja 2018. Studentica ______________________ IZJAVA o korištenju autorskog djela Ja, Katarina Pokrajac
    [Show full text]
  • A Croácia E Sua Participação No Eurovisão: Do Apelo Pacifista Ao Reconhecimento Cultural De Uma Tradição
    A Croácia e sua participação no Eurovisão: do apelo pacifista ao reconhecimento cultural de uma tradição Mauro Neves Resumo: A Croácia, juntamente com a Bósnia-Herzegovina e a Eslovênia, foi um dos primeiros países balcânicos a participar do Festival Eurovisão da Canção (Eurovisão) após a desintegração da Iugoslávia, país este que havia sido o único país do leste europeu a ter tomado parte no certame musical europeu até 1992. A entrada no Eurovisão em 1993 dessas três novas nações balcânicas, oriundas da desintegração iugoslava iniciada em 1991, deu-se em meio à Guerra da Bósnia (1992-1995), e por isso mesmo, representou a introdução de um novo imaginário dos Balcãs dentro desse programa musical de grande audiência e de longa história, de certa maneira procurando aproximar os países nascidos dessa desintegração à comunidade europeia. Após uma breve síntese histórica do Eurovisão como um todo e das participações da Iugoslávia, 27 participações entre 1961 e 1992, passaremos a analisar as 21 participações da Croácia entre 1993 e 2013, discutindo o que estas representaram não só como forma de procurar integrar o país na Europa, como também como forma de tentar criar um novo imaginário sobre o país para os próprios croatas. Palavras-chave: Eurovisão. Música popular. Imaginário nacional. Integração europeia. Abstract: Croatia in the eurovision song contest: from an antiwar message to the recognition of a cultural tradition. Croatia, together with Bosnia-Herzegovina and Slovenia, was one of the first Balkan countries to join the Eurovision Song Contest (ESC) after the Yugoslavian Wars that lead to the disintegration of Yugoslavia, the only country from East Europe to have taken part at the Festival up to 1992.
    [Show full text]
  • OGAE Contest Rulebook Table of Contents
    CONTEST RULEBOOK accepted by presidents on 18/03/2020 OGAE Contest Rulebook Table of Contents Table of Contents About ............................................................................................................................................................3 Contest Responsibilities .....................................................................................................................3 New Contests ........................................................................................................................................3 Contest Coordinator ................................................................................................................................4 Contest Rules .........................................................................................................................................4 Timetable ................................................................................................................................................5 OGAE Second Chance Contest ............................................................................................................6 General Rules .........................................................................................................................................6 Special Rules ..........................................................................................................................................8 Procedures ..............................................................................................................................................8
    [Show full text]
  • Introduction
    Introduction Every May, 200 million people turn on their TVs or log on to the internet, not just to watch but to be part of the Eurovision Song Contest, an extravaganza of song, dance, stagecraf and politics. Politics? Te European Broadcasting Union (EBU), who run the contest, insist it is non-political. Tey ban songs like Georgia’s 2009 ‘We Don’t Wanna Put In’ (‘put in’ was sung ‘poot-in’ to make sure everyone got the point) to enforce this. Tey are, I feel, right to do so: the pretence must be kept up. But the Eurovision Song Contest is political to its thigh-high, spangly boots. It is now and, as I plan to show in this book, it always has been. Tere’s politics in the songs. Not allowed through the front door, it sneaks in through the back. Te winner of the 2016 contest, ‘1944’, was a passionate denunciation of Stalin’s deportation of the Crimean Tatars – and by extension, an equally passionate denunciation of Russia’s annexation of the peninsula in 2014. In other years, we’ve had anti-colonialism, radical Socialism, Tatcherism, a marching song from Ukraine’s Euromaidan movement . In the 1970s, a Eurovision* song even started a revolution. Tere’s politics in the voting, with blocs of nations supporting each other’s songs. It drove Sir Terry Wogan to distraction, but most Eurovision fans love that moment when the Cypriot announcer says with a straight face, ‘And our twelve points go to . .’ It’s all part of the ritual. It also tells us something important about Europe.
    [Show full text]
  • 'Gay Olympics'?: the Eurovision Song Contest and the Politics of LGBT/European Belonging Catherine Baker
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Hull - CRIS The ‘Gay Olympics’?: The Eurovision Song Contest and the politics of LGBT/European belonging Catherine Baker (University of Hull) Accepted for publication in European Journal of International Relations Abstract The politics of gay and transgender visibility and representation at the Eurovision Song Contest, an annual televised popular music festival presented to viewers as a contest between European nations, show that processes of interest to Queer International Relations do not just involve states or even international institutions; national and transnational popular geopolitics over ‘LGBT rights’ and ‘Europeanness’ equally constitute the understandings of ‘the international’ with which Queer IR is concerned. Building on Cynthia Weber’s reading the persona of the 2014 Eurovision winner Conchita Wurst with ‘queer intellectual curiosity’, this paper demonstrates that Eurovision shifted from, in the late 1990s, an emerging site of gay and trans visibility to, by 2008–14, part of a larger discursive circuit taking in international mega-events like the Olympics, international human-rights advocacy, Europe/Russia relations, and the politics of state homophobia and transphobia. Contest organisers thus had to take positions – ranging from detachment to celebration – about ‘LGBT’ politics in host states and the Eurovision region. The construction of spatio-temporal hierarchies around attitudes to LGBT rights, however, revealed exclusions that corroborate other critical arguments on the reconfiguration of national and European identities around ‘LGBT equality’. Introduction The theoretical interventions of Queer International Relations, which recognise how sexualities and gender non-conformity are embedded in international politics, have ‘transformative’ potential for International Relations (Langlois, 2015: 1).
    [Show full text]
  • Your Guide to Ebu Services
    YOUR GUIDE TO EBU SERVICES 1 The European Broadcasting Union (EBU) is the world’s foremost alliance of public service media (PSM). Our mission is to make PSM indispensable. We have 115 Member organizations in 56 countries in Europe, and an additional 31 Associates in Asia, Australasia, Africa and the Americas. Our Members operate almost 2,000 television, radio and online channels and services and offer a wealth of content across other platforms. Together, they reach audiences of more than one billion people around the world, broadcasting in almost 160 languages. We are one EBU with two distinct fields of activity: Member Services and Business Services. Our Member Services strive to secure a sustainable future for public service media, provide our Members with a centre for learning and sharing, and build on our founding ethos of solidarity and cooperation to provide an exchange of world-class news, sports news, and music. Our Business Services, operating as Eurovision Services, are the media industry’s premier distributor and producer of high-quality live news, sport and entertainment with over 70,000 transmissions and 100,000 hours of news and sport every year. We return the profits of Business Services to the organization for the benefit of Members. 2 2 WELCOME TO THE EBU! As a Member, you are part of a unique community of media organizations from 56 countries that together provide a powerful voice championing and upholding the values of PSM. We are a network of like-minded people that not only share the same ideals but come together to share knowledge, ideas and inspiration.
    [Show full text]
  • Popular Music and Narratives of Identity in Croatia Since 1991
    Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal).
    [Show full text]
  • Broadcasters EUROVISION Presidential Debate
    Broadcasters EUROVISION Presidential Debate TV/Web/Radio Media type Country Coverage Live Rec Extracts Austria (2) ORF III (ORF) Television Austria National http://derstandard.at/1399462407115/Live-Uebertragung-der-Eurovisionsdebatte Web Austria National x Belgium (4) La Trois (RTBF) Television Belgium National Canvas (VRT) Television Belgium National x www.europolitics.info Web Belgium National x www.euroactiv.com Web Belgium National x Bulgaria (3) Kanal 6 Television Bulgaria Regional x BNT Television Bulgaria National www.bnt.bg Web Bulgaria National x Canada (1) CPAC Cable Public Affairs Channel Television Canada National x Croatia (5) HRT 1 and HRT 4 Television Croatia National Kanal RI Television Croatia Regional RI TV Television Croatia Regional TV Nova Pula Television Croatia Regional TV Student Television Croatia Regional Cyprus (2) RIK 2 (CYBC) Television Cyprus National x CyprusNews.eu Web Cyprus National x Czech Republic (2) Czech Radio Radio Czech Republic National x www.czechradio.cz Web Czech Republic National x Denmark (2) DR Television Denmark National x www.dr.dk Web Denmark National x Estonia (1) www.err.ee (ERR TV) Web Estonia National x Finland (2) YLE Television Finland National x http://areena.yle.fi/tv Web Finland National x France (8) LCP (France Télévisions) Television France National x www.lcp.fr Web France National x www.francetelevisions.fr Web France National x www.franceculture.fr Web France National x www.eviscope.com Web France National x Radio France Radio France National x Radio Nantes Radio France National
    [Show full text]